Zephyrus

Zephyrus
God of the West Wind
Zephyrus on an antique fresco in Pompeii
Greek	Ζέφυρος
Abode	Sky
Animals	Horse, swan
Genealogy
Parents	Astraeus and Eos
Siblings	Winds (Boreas, Eurus, and Notus), Eosphorus, the Stars, Memnon, Emathion, Astraea
Consort	Iris or Flora
Children	Pothos, Balius and Xanthus, Carpus, tigers
Equivalents
Roman	Favonius

In Greek mythology and religion, Zephyrus (Ancient Greek: Ζέφυρος, romanized: Zéphuros, lit. 'westerly wind'), also spelled in English as Zephyr, is the god and personification of the West wind, one of the several wind gods, the Anemoi. The son of Eos (the goddess of the dawn) and Astraeus, Zephyrus is the most gentle and favourable of the winds, associated with flowers, springtime and even procreation. In myths, he is presented as the tender breeze, known for his unrequited love for the Spartan prince Hyacinthus. Alongside Boreas, the two are the most prominent wind gods with relatively limited roles in recorded mythology.

Zephyrus, similarly to his brothers, received a cult during ancient times although his worship was minor compared to the Twelve Olympians. Still, traces of it are found in Classical Athens and surrounding regions and city-states, where it was usually joint with the cults of the other wind gods.

His equivalent in Roman mythology is the god Favonius.

Etymology

The ancient Greek noun ζέφυρος is the word for the wind that blows from the west. His name is attested in Mycenaean Greek as ze-pu₂-ro (Linear B: 𐀽𐁆𐀫), which points to a possible Proto-Hellenic form *Dzépʰuros. Further attestation of the god and his worship as part of the Anemoi is found in the word-forms 𐀀𐀚𐀗𐀂𐀋𐀩𐀊, a-ne-mo-i-je-re-ja, 𐀀𐀚𐀗𐄀𐀂𐀋𐀩𐀊, a-ne-mo i-je-re-ja. That is, "priestess of the winds", found on the KN Fp 1 and KN Fp 13 tablets.

Traditionally, 'Zephyros' has been linked to the word ζόφος (zóphos) meaning "darkness" or "west". Both in turn have been connected to the Proto-Indo-European root *(h₃)yebʰ-, meaning "to enter, to penetrate" (from which οἴφω (oíphō), meaning 'to have sex', also derives). It has been noted however that a development *Hi̯- → ζ- is unlikely, and most evidence in fact points to the contrary.

It could also be of pre-Greek origin, though Beekes is not sure either way. Due to his role as the west wind, his name and various derivatives of it were used to mean 'western', for example the Greek colony of Locri Epizephyrii in southern Italy, west of Greece.

The name Zephyrus (Greek: Ζέφυρος, translit. Zéphuros) originates from the Greek word zéphyros, meaning "west wind" or "gentle breeze." It is believed to have pre-Greek or Proto-Indo-European roots, though the exact origin is uncertain. The name eventually passed into Latin as Zephyrus, and from there into various languages, where it became synonymous with soft, pleasant winds and springtime breezes.

In modern English, the term "zephyr" is derived from Zephyrus and denotes a light, mild wind. The association with calmness and renewal has persisted throughout history in poetry, literature, and meteorological terminology.

Genealogy

Zephyrus is one of the four Anemoi, or wind gods, in Greek mythology. He is the god of the west wind and is often described as the gentlest among his siblings. His lineage is typically traced to:

• Father: Astraeus, the Titan god of dusk, stars, and planetary influence.
• Mother: Eos, the goddess of dawn.
• Siblings:
  • Boreas – god of the north wind, associated with winter’s cold and harshness.
  • Notus – god of the south wind, bringer of storms and the late summer heat.
  • Eurus – god of the east wind, often linked to bad luck and unpredictability.

In some versions of myth, the Anemoi were considered primordial deities born from Chaos or Nyx (Night), but the Astraeus and Eos genealogy is the most widely accepted.

Family

Zephyr and Flora, c. 1720, by Antonio Corradini, Victoria and Albert Museum.

Parents

Zephyrus, like the rest of the wind gods Anemoi (Boreas, Eurus and Notus) was said to be the son of Eos, goddess of the dawn, by her husband and first cousin Astraeus, a minor god related to the stars. The poet Ovid dubs the four of them 'the Astraean brothers' in reference to their paternity.

He is thus brother to the rest of Eos and Astraeus's children, namely the five star-gods and the justice goddess Astraea. His mortal half-brothers include Memnon and Emathion, sons of his mother Eos by the Trojan prince Tithonus. The Athenian playwright Aeschylus in his fifth-century BC play Agamemnon writes that Zephyrus is the son of the goddess Gaia (the mother earth). The father, if one exists at all, is not named.

Consorts and offspring

Zephyrus with Chloris in Primavera by Sandro Botticelli, ca. 1470s-1480s, oil on canvas.

In Greek tradition, Zephyrus became the consort of Iris, the goddess of the rainbow and messenger of the gods. According to Nonnus, a late-antiquity poet, together they became the parents of Pothos, the god of desire, and according to Alcaeus of Mytilene (a six-century BC poet from the island of Lesbos), of Eros as well, though he is more commonly a son of Ares and Aphrodite. In the same passage, Zephyrus is described as having golden hair.

By the Harpy Podarge (who is Iris's sister) he became the father of Balius and Xanthus, the two fast, talking horses that were given to Achilles, when he mated with her while she was grazing on a meadow near the banks of the Ocean, implied in the form of a mare. Quintus Smyrnaeus also says that by a Harpy he had Arion, the talking horse. Like with the case of Eros, Arion's more common parentage is different, in this case the Olympians Demeter and Poseidon.

In some sources Zephyrus has a son named Carpus ("fruit") by a nymph Hora, who drowned in the Maeander river when the wind drove a wave right into his face, driving his lover Calamus into despair, who went on to take his life. According to Pseudo-Oppian, he also became the genitor of tigers by an unnamed consort.

Mythology

Role as a Wind God

Zephyrus was considered a benevolent wind, bringing mild weather and heralding the arrival of spring. His gentle breezes carried the scent of blooming flowers and were vital for agricultural cycles. Unlike his brother Boreas, who brought winter’s fury, or Notus, associated with destructive storms, Zephyrus was widely revered for his role in nature’s renewal.

In early myths, Zephyrus was often depicted residing in Thrace, where the winds were thought to originate. He was sometimes identified with Favonius, his Roman equivalent, who similarly symbolized fertility, plant growth, and the promise of fair weather.

The Love Triangle: Zephyrus, Apollo, and Hyacinthus

One of the most tragic myths involving Zephyrus centers around the Spartan prince Hyacinthus. Hyacinthus was a beautiful youth beloved by the sun god Apollo. However, Zephyrus also loved him and grew jealous of the affection shared between Apollo and the prince.

One day, Apollo and Hyacinthus were playing a game of discus. Overcome with envy, Zephyrus used his wind powers to alter the trajectory of the discus. It struck Hyacinthus on the head, killing him instantly. Devastated, Apollo refused to let Hades claim Hyacinthus's soul and instead transformed his blood into a flower, the hyacinth, as a symbol of grief and remembrance.

Zephyrus and Chloris: The God of Flowers

Zephyrus is most commonly associated with Chloris, the goddess of flowers. According to myth, Zephyrus abducted Chloris and made her his wife. As a wedding gift, he granted her dominion over all flowers, giving her the ability to create new blossoms at will. This union symbolized the interplay between the west wind and the arrival of spring, reinforcing Zephyrus’s role as a gentle, life-giving force.

In Roman mythology, Chloris was identified with Flora, and Zephyrus with Favonius. This connection became popular in Renaissance art, where they were depicted together in lush, flowery scenes representing the transition from winter to spring.

Zephyrus in the Tale of Psyche

Zephyrus plays a key role in the myth of Eros and Psyche, recorded in Apuleius’s Metamorphoses (2nd century CE). When Psyche, a mortal woman, was ordered by Aphrodite to be taken to a remote mountain to face her fate, Zephyrus gently carried her to Eros’s palace. This portrayal of Zephyrus as a messenger of the gods and a harbinger of fate aligns with other myths where he serves as an agent of transformation and transition.

Involvement in the Trojan War

In Homer’s Iliad, the winds, including Zephyrus, are called upon by Achilles to help ignite Patroclus’s funeral pyre. At the hero’s request, Boreas and Zephyrus combine their strength to fan the flames, ensuring a swift and complete cremation. This act underscores the duality of wind gods—not only are they forces of nature, but they also intervene in human affairs at critical moments.

West Wind

Zephyrus relief from the Tower of the Winds, Athens.

Zephyrus, along with his brother Boreas, is one of the most prominent of the Anemoi; they are frequently mentioned together by poets, and along with a third brother, Notus (the south wind) they were seen as the three useful and favourable winds (the east wind, Eurus, seen as bad omen). They are the three wind gods mentioned by Hesiod, as ancient Greeks avoided talking about Eurus. Zephyrus and Boreas were thought to dwell together in a palace in Thrace.

In the Odyssey however, they all seem to dwell on the island of Aeolia, as Zeus has tasked Aeolus with the job of the keeper of the winds. Aeolus receives Odysseus and his wretched crew, and hosts them for a month gracefully. As they part, Aeolus gives Odysseus a bag containing all the winds, except for Zephyrus himself, who is let free to blow Odysseus's ship gently back to Ithaca; Odysseus's crewmates foolishly open the bag, thinking it to contain treasure, and set free all the other winds, blowing the ships back to Aeolia. Many years later, right after Odysseus left Calypso, the sea-god Poseidon in rage unleashed all four of them to cause a storm and raise great waves in order to drown Odysseus in the sea.

Zéphyr rapting Psyché, 1814 by Henri-Joseph Ruxthiel.

In the Iliad, Zephyrus is visited by his wife Iris in his home as he dines with his wind brothers. He wishes to summon him and Boreas to blow on Patroclus's funeral pyre following his death, as Achilles prayed for their help when the pyre failed to kindle. In the Dionysiaca, all four live together with their father Astraeus; Zephyrus plays sweet notes with an aulos for Demeter when she pays them a visit.

In the myth of Eros and Psyche, Zephyrus serves Eros, the god of love, by transporting his bride-to-be, the mortal princess Psyche with his soft breeze from the cliff (where she had been left in an oracle's suggestion) to Eros's palace. Later, he also helps rather reluctantly Psyche's two sisters transport the same way to the palace as well, when Psyche wishes to see them again. After Eros abandons Psyche over her betrayal, both sisters take advantage of the situation and each independently goes to the cliff (having both been lied to by Psyche that Eros wished to maker her his new wife), calling for Eros to make them his bride, and Zephyrus to take them to the palace. But this time Zephyrus does not act when they jump, and thus they both fall to their deaths, torn limb to limb and made food for the birds of prey and wild beasts below.

Zephyrus seems to have had a connection to swans; in Philostratus the Elder's works, he joins them twice in their song, once while they are carrying the Erotes and another when the young Phaethon is killed driving his father Helios's fiery chariot. This apparently symbolizes the belief that swans took to singing when the mild west wind blew.

Other myths

Zephyr and Hyacinth engaging in intercrural sex on a red-figure vase (5th century BCE)

In his most notable myth, Zephyrus fell in love with a beautiful Spartan prince named Hyacinthus, who nevertheless rejected him and became the lover of another god, Apollo. One day when the prince and Apollo were playing at discus-throwing, Zephyrus deflected the course of Apollo's discus, redirecting it right onto Hyacinthus's head and fatally wounding him. Hyacinthus's is blood then became a new flower, the hyacinth. In some versions, Zephyrus is supplanted by his brother Boreas as the wind-god who bore a one-sided love for the beautiful prince. Zephyrus's role in this myth reflects his connection to flowers and springtime as the gentle west wind, who, in spite of his traditional gentleness, is nonetheless a harsh lover, like all the winds. Not every version of this tale features Zephyrus, however, and his participation is a secondary narrative; in many of them he is absent, and Hyacinthus's death stems from a genuine accident on Apollo's part.

On another occasion, another beautiful youth named Cyparissus ("cypress") and Zephyrus became lovers. The youth, wanting to preserve his beauty, fled to Mount Cassium in Syria, where he became transformed into a cypress tree. This myth, which might be of Hellenistic origin, seems to have been modeled after that of Apollo and Daphne. It also, along with Zephyrus's role in Hyacinthus's story, fits the pattern–also fit by his brother Boreas–of a wind god appearing in the story of the origin of a plant. In all other narratives, however, Zephyrus is absent, and the role of Cyparissus's divine partner is filled by Apollo; furthermore, Cyparissus is transformed into a cypress by Apollo at his own request after accidentally killing his own pet deer, which caused him much sorrow.

Zephyrus also features in some of the dialogues by the satirical author Lucian of Samosata; in the Dialogues of the Sea Gods, he appears in two dialogues with his brother Notus, the god of the south wind. In the first, they discuss the Argive princess Io and how she was loved and got turned into a heifer by Zeus in order to hide from his jealous wife Hera, while in the second, Zephyrus enthusiastically recounts the scene he has just witnessed of how Zeus transformed into a bull, tricked another princess, the Phoenician Europa, into riding him, transported her to Crete and then mated with her while Notus expresses his jealousy and complains of seeing nothing noteworthy.

In ancient culture

Iconography

The horses on the Pergamon Altar, Berlin.

Like all the other wind gods, Zephyrus is represented in ancient Greek art with wings, due to which he is sometimes hard to distinguish from Eros, another winged youthful god, though tellingly unlike Zephyrus Eros is not depicted pursuing males. In ancient vases, he is most commonly pursuing the young Hyacinthus or already holding him in his arms in an erotic and sexual manner; on a red-figure vase in the Boston Museum of Fine Arts, Zephyrus's erect penis thrusts into the folds of the young man's clothes as they fly together, while vase 95.31 from the same museum depicts intercrural sex between the two. Various other vases also show scenes of Zephyrus grabbing and seizing Hyacinthus.

On the Tower of the Winds, a clocktower/horologion in the Roman agora of Athens, the frieze depicts Zephyrus alongside seven more of the wind gods above the sundials. Zephyrus is presented as a beardless youth carrying a cloak full of flowers.

On the Pergamon Altar, which depicts the battle of the gods against the Giants (known as the Gigantomachy), Zephyrus and the other three wind gods are shown in the shape of horses who pull the chariot of the goddess Hera in the eastern frieze of the monument; the equine forms of the Anemoi are also found in Quintus Smyrnaeus's works, where the four brothers pull Zeus's chariot instead.

Symbolism and Legacy

Symbol of Change and Transition

Zephyrus embodies transition, as he represents the change from winter to spring. His mythology frequently connects him to moments of transformation, whether through his role in Psyche’s journey, Hyacinthus’s death, or the birth of flowers.

Linguistic Influence

The word "zephyr" remains in use today, describing soft, mild winds. The name has also been applied to ships, brands, and literary works, reinforcing Zephyrus’s continued relevance.

Modern Cultural References

Zephyrus appears in video games, literature, and fantasy settings, often as a benevolent wind spirit or messenger of change. His presence in modern storytelling reflects his enduring mythological significance.

Cultural Depictions

Ancient Art

Zephyrus was commonly depicted in Greek and Roman art as a winged youth, often in motion to signify the fleeting nature of the wind. In some cases, he is shown carrying flowers, a nod to his association with Chloris and springtime renewal.

Renaissance Art

One of the most famous representations of Zephyrus is in Sandro Botticelli’s "The Birth of Venus" (c. 1485). In this masterpiece, Zephyrus and Chloris appear in the left portion of the painting, with Zephyrus blowing Venus toward the shore, symbolizing the west wind as a bearer of transformation and renewal.

Literature and Poetry

Zephyrus frequently appears in classical and modern literature as a metaphor for gentle change. Greek poets such as Hesiod, Homer, and Ovid referenced Zephyrus in their works, emphasizing his role in nature and mythology.

In English literature, the poet John Keats mentions Zephyrus in "Ode to Psyche," reinforcing the god’s connection to the story of Eros and Psyche.

Worship and Cult

Zephyrus was not as widely worshiped as major Olympian gods, but he was acknowledged in certain seasonal festivals and local cults.

The Anemoi and Greek Temples

The Anemoi, including Zephyrus, were sometimes honored collectively. Temples dedicated to winds, such as the Tower of the Winds in Athens, housed representations of Zephyrus and his siblings. This structure, built in the 2nd century BCE, was an astronomical and meteorological monument, showcasing the importance of wind deities in daily life.

Agricultural Offerings

Since Zephyrus was associated with spring rains and fertility, farmers occasionally made libations and small sacrifices to him in hopes of securing favorable weather for crops. In some regions, Zephyrus was linked to Dionysian rites, reflecting his association with the cycle of growth, decay, and rebirth.

Ancient cult of the wind gods is attested in several ancient Greek states. According to the geographer Pausanias, the Winds were jointly worshipped in the town of Titane, in Sicyon, where the local priest offered sacrifice to them, and in Coronea, a town in Boeotia. It is also known that the citizens of Laciadae in Attica had erected an altar for Zephyrus. According to a fragment doubtfully attributed to the fifth-century BC poet Bacchylides, a Rhodian farmer named Eudemus built a temple in honour of the west wind god, in gratitude for his help.Symbolism and Legacy

Symbol of Change and Transition

Zephyrus embodies transition, as he represents the change from winter to spring. His mythology frequently connects him to moments of transformation, whether through his role in Psyche’s journey, Hyacinthus’s death, or the birth of flowers.

Linguistic Influence

The word "zephyr" remains in use today, describing soft, mild winds. The name has also been applied to ships, brands, and literary works, reinforcing Zephyrus’s continued relevance.

Modern Cultural References

Zephyrus appears in video games, literature, and fantasy settings, often as a benevolent wind spirit or messenger of change. His presence in modern storytelling reflects his enduring mythological significance.

Favonius

Detail of Zephyrus with Aura from Sandro Botticelli's The Birth of Venus.

Zephyrus's Roman equivalent was called Favonius (the "favouring") who held dominion over plants and flowers, however 'Zephyrus' was also commonly used by Romans. Some later authors would also describe him as having wings in his head. The Roman poet Horace writes:

quid fles, Asterie, quem tibi candidi
primo restituent vere Favonii?

Why do you weep, Asterie, for the man whom the bright west winds
will restore to you at the beginning of spring?

Unlike Greek authors, Roman writers held that Zephyrus/Favonius married not Iris but rather a local vegetation and fertility goddess named Flora (identified and linked by Ovid with a minor Greek nymph named Chloris and her legend) after abducting her while she tried to run away and escape him; he gave her dominion over flowers, thus making amends for his violence and abduction of her.

Some analysts have suggested that Carpus, the son Zephyrus had by Hora/a Hora (season goddess), is supposed to have been actually mothered by Flora/Chloris instead, although this is not confirmed in any ancient text.

Genealogy

Zephyrus's family tree
Uranus Gaia Pontus Oceanus Tethys Hyperion Theia Crius Eurybia The Rivers The Oceanids Helios Selene Eos Astraeus Pallas Perses ZEPHYRUS Anemoi Astraea Stars Cronus Rhea Coeus Phoebe Hestia Hera Hades Zeus Leto Asteria Demeter Poseidon Iapetus Clymene (or Asia) Mnemosyne (Zeus) Themis Atlas Menoetius Prometheus Epimetheus The Muses The Horae

Zephyrus is one of the four Anemoi, or wind gods, in Greek mythology. He is the god of the west wind and is often described as the gentlest among his siblings. His lineage is typically traced to:

• Father: Astraeus, the Titan god of dusk, stars, and planetary influence.
• Mother: Eos, the goddess of dawn.
• Siblings:
  • Boreas – god of the north wind, associated with winter’s cold and harshness.
  • Notus – god of the south wind, bringer of storms and the late summer heat.
  • Eurus – god of the east wind, often linked to bad luck and unpredictability.

In some versions of myth, the Anemoi were considered primordial deities born from Chaos or Nyx (Night), but the Astraeus and Eos genealogy is the most widely accepted.

Gallery

• Zephyrus in Art
• 
  Flora and Zephyr by William-Adolphe Bouguereau, oil on canvas.
• 
  Statue of Zephyrus in Hermitage Hall.
• 
  Zephyrus and Boreas surround Oceanus in a mosaic from Portugal.
• 
  Zephyrus, Psyche and Eros, statue by John Gibson.
• 
  Zephyrus, 1878 engraving.
• 
  Statue of Zephyrus in Poland.
• 
  Zephyrus, Flora and Cupid by Antonio Balestra.
• 
  Zephyrus with Venus, Ariadne and Bacchus, eighteenth century.
• 
  Zephyrus and Hyacinthus red-figure, 440-420 BC.
• 
  Hyacinthus and Zephyrus. Attic Red Figure Kylix. Attributed to Manner of Douris Painter, 500-450 B.C.
• 
  Statue of Zephyrus in the gardens of Peterhof.
• 
  Zéphyr et Flore by Sebastiano Ricci, oil on canvas.
• 
  Engraving of Zephyrus.
• 
  Zéphyr et Flore, by Giambattista Tiepolo, ca. 1730-1735 in Ca' Rezzonico, Venice.

See also

• Bacab
• Dáinn, Dvalinn, Duneyrr and Duraþrór
• Norðri, Suðri, Austri and Vestri
• Vayu
• List of wind deities

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External links

• ZEPHYRUS from the Theoi Project
• The Warburg Institute Iconographic Database (images of Zephyrus)
• Warburg Institute Iconographic Database (ca 40 images of Flora and Zephyrus)